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My Father’s Shadow is not a film that tells you what to think about 1993 or about Nigeria’s long arc of disappointments. It’s a film that teaches you how to feel history: to smell it, taste it, hold it against your ribs. It’s a portrait of a father whose love is messy and incomplete, and a nation whose promises frequently arrive late or not at all.
Nigerian Modernism aptly redefines global modernism by giving us a new and noteworthy take that decentres Eurocentric narratives. The exhibition signposts a great opportunity for contemporary Nigerian artists, at home and in the diaspora, to ride the wave of this important moment.
At 23 tracks, the album overextends itself, disrupting the intensity and ferocity that defined its opening half. Trimmed down to a lean 10–12 tracks, The Machine could have been a focused, tightly wound project. Instead, its sprawl dulls its edge. And by the time the final track, “HALLELUJAH,” featuring Phyno, Jeriq, and Tobe Nwigwe, rolls in, we are torn between joining the celebration and simply sighing with relief that the album has finally ended.
For years, Deeyasso was the hidden force shaping love stories as a...
Missy Elliott, Madison Beer and Karol G got the crowd on their...
